I’ve a confession, I’ve only listened to two The Cinematic Orchestra records. Fortunately one of them is Man With a Movie Camera, that thanks to it being 20 years old, they’re playing in full tonight
at New Century. I’ve talked about my slight dislike of the album in full gig format, but not this time, as this is a film score and therefore makes perfect sense played in full. It’s a reimagined score for Dziga Vertov’s classic silent documentary. A film that’s well worth a watch (after you can read my review of it here - https://www.taketworeviews.com/post/man-with-a-movie-camera-1929-9-10), although I’ve never watched it with TCO’s score. Part of me hoped that it would be screened here tonight, but the live visuals we get instead by Ben Olsen are really quite wonderful. That sums up this score and its inspiration… wonderful. Full of the energy evoked by the discovery of something new. TCO are a jazz band at heart, modern with plenty of electronics. This score though is more traditional and despite a couple of banks of keyboard and synths, this feels well anchored with the heritage of early cinema. Aside that, it just sounds bloody lovely. Smoke slowly fills the stage. A spotlight shines and Olsen comes on and types on a vintage typewriter with a camera poised on it, informing us that what we’re about to watch is an audio visual experiment. And that’s what they deliver. Parts of the original film (I think) and other bits of old archive fed through a live camera with props and focal trickery. Whilst the quartet of drums, double bass, piano and loops fill our ears. It is a shame the horns aren’t live, but it still sounds marvellous. Whilst keeping all the the themes of the score, it does sound different live. More bombastic. The drums played by a rubber armed octopus Luke Flowers. There’s tight control here though and if it weren’t for the fabulous visuals I’d not be able to take my eyes off Phil France on double bass, it looks so much fun to play and sounds effortlessly cool. Honestly the whole thing is utterly captivating. There’s a lot of chin striking types in here, but when TCO let loose honestly it’s fucking banging. Heads are nodding and there’s even some limbs from the more care free patrons. Olsen is playful and inventive. There’s some really beautiful stuff captured live and relayed on the screen. All with a hint of impending chaos and if that’s not jazz what is. Whatever they’re controlling, everyone on stage is feeding off one another. Every gig is unique, but some, like this, turn the dial a little further. After an hour they draw to a close and instantly the crowd start stamping the floor calling for more. To which they of course oblige. As Olsen turns his camera on the crowd and the band glide through more of their catalogue. I don’t know any of it of course, but let’s just say I’m now urged to rectify this quickly. I love watching bands like this. It’s expansive and intimate. Genuinely moving and yes cinematic. An absolute pleasure to witness.
